Horn Teaching at the Paris Conservatoire, 1792 to 1903: The Transition from Natural Horn to Valved Horn
- Author: Snedeker, Jeffrey
Horn Teaching at the Paris Conservatoire, 1792 to 1903: The Transition from Natural Horn to Valved Horn
- Author: Snedeker, Jeffrey
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About
The transition from the valveless natural horn to the modern valved horn in 19th-century Paris was different from similar transitions in other countries. While valve technology was received happily by players of other members of the brass family, strong support for the natural horn, with its varied color palette and virtuoso performance traditions, slowed the reception and application of the valve to the horn.
Using primary sources including Conservatoire method books, accounts of performances and technological advances, and other evidence, this book tells the story of the transition from natural horn to valved horn at the Conservatoire, from 1792 to 1903, including close examination of horn teaching before the arrival of valved brass in Paris, the initial reception and application of this technology to the horn, the persistence of the natural horn, and the progression of acceptance, use, controversies, and eventual adoption of the valved instrument in the Parisian community and at the Conservatoire.
Active scholars, performers, and students interested in the horn, 19th-century brass instruments, teaching methods associated with the Conservatoire, and the intersection of technology and performing practice will find this book useful in its details and conclusions, including ramifications on historically-informed performance today.
Contents
- Chapter 1 Introduction
- Overview of the Problem
- The Structure of this Book
- Chapter 2 Early Horn Tutors in France, the Formation of the Conservatoire, and the Conservatoire's First Horn Teachers
- Mid- to Late Eighteenth-Century Horn Tutors in France
- The Formation of the Conservatoire
- Horn Teaching at the Conservatoire 1802-1842
- Summary of Teaching Methods and the State of Horn Playing in Paris, 1830
- Backdrop for Music in Paris and at the Conservatoire in 1830
- Chapter 3 Valved Brass Instruments in Paris
- The Arrival and Application of Valve Technology in France
- Horn parts in Halevy's La Juive
- Hector Berlioz and his Traite d'instrumentation
- A Word on Further Developments in Valve Technology in Germany
- Chapter 4 Hand and Valve: Joseph-Emile Meifred, Jacques-Francois Gallay and Horn Teaching at the Conservatoire 1833-1863
- Joseph-Emile Meifred
- Meifred's Methode
- Gallay and the Natural Horn at the Conservatoire 1833-1863
- Chapter 5 Other Valved Horn Activity in Paris: Two Valves or Three?
- Georges Kastner
- Donatien Urbin
- Other Parisian Valved Horn Methods in the 1840s
- Chapter 6 Late Nineteenth-Century Developments at the Conservatoire
- Mohr, Gallay's Successor
- The Valved Horn in Paris in the 1860s, 1870s, and 1880s
- Garigue, Chaussier, and the Panel Comparison of 1891
- Francois Bremond and the Final Transition to Valved Horn
- Summary
- Chapter 7 Applications to Performing Practices and Hand and/or Valve Today
- The Aesthetics of Stopped Notes
- The Natural Horn, Stopped Notes, and Musicality
- The Valved Horn Conundrum
- Performing Practices for Valved Horn
- Conclusion
- Appendices
- Appendix 1: Foreign Language Quotations
- Appendix 2: Writings and Compositions of Joseph-Emile Meifred
